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Found 9 results

  1. Wife found this lovely Jacob Stainer copy - made in Czeckoslovakia (c.1920's) at an antique shop in the valley on the weekend. She texted me the photos and saw the neck might need to be reglued but everything else looked good. SO the $20 price tag seemed a steal. When she got it home I saw the neck was more than just a reglue job. Root cause is a broken button. Also a small crack in the top which was separated from the ribs. But all the corners are in tact and the reest of the body is solid. The Maple is beautiful! Nice highly flamed single piece back! This is the second single piece back violin I bought with a broken button. I'm already familiar with button repair. Is this a problem with single piece backs? Its astounding how much someone felt they needed to countersink the hole for the wood screw that they used to try and reattach the neck to the violin! How would you approach repairing this blasphemy? Simply try to fill the hole as best you can with like maple? Thanks, Joe
  2. Hello I have a violin in my hands which says inside Jacobus Stainer in Absam prope Oenipontum 17. Any chance to be genuine and not copy? Thanks.
  3. After my visit to the Reed-Yeboah Contemporary Violin & Bow Makers Exhibition 2019 I walked over to the MET Museum to look at their bowed string instruments. I was very impressed by the museum and can highly recommend a visit. Most of the instruments are displayed beautifully and can be viewed from the front and back. Below are pictures of some of the instruments that I hope you will enjoy. Higher resolution images (and some additional ones) are available here: https://rauchtonewood.com/blogs/news I was very interested in the varnish on these instruments and the comparison to the modern instruments I had looked at earlier the same day. I had never seen a J. Stainer and seeing his viola side by side with some of the Amatis and Strads was great. I got a lot of inspiration on one day. A. Stradivari "Batta-Piatigorksy" cello A. Stradivari "The Antonius" violin
  4. Hey folks, It occurred to me that I have no idea how to make a violin without locating pins. It's how I was taught, and it works wonderfully as far as I'm concerned. That said, some historical makers associated with the Amati tradition I really admire didn't use them, like Francesco Rugeri and Jakob Stainer. I have a hard time imagining how to make a baroque violin, where the neck is affixed before the plates, without pins. Any of you makers/restorers/historians have some insight into how Rugeri and Stainer may have gone about it? Thank you J
  5. Hi. Is this a Stainer? A know that my grandfather by it in 1945 in Berlin.
  6. Surprised to see this in the unsold lots with an after sales offer of 50,000 pounds. Did I miss something? There appeared to be no really significant condition issues as far as I could see. I would be grateful if anyone who handled this instrument would care to comment. I had expected to see this at least hitting close to the upper estimate? Martin?
  7. Hi All, As a follow up to my recent acquisition, I was wondering if anyone could recommend recordings of real stainer instruments in both baroque and modern set up, solo and ensemble? I recently came across the clip of Jorg-michael Schwarz briefly discussing the different qualities of his stainer along with some lovely playing. I have noticed that my particular stainer-esque german violin has a bell like tonal quality to the A and E string. It is a very different to my ‘strad G forme’ copy. So wondering if this is a common quality found in the better Stainer copies. My friend’s Marchetti has a very similar quality on the A string so I was a bit confused how two very different patterned instruments could have similar tonal characteristics. Thanks,
  8. I recently fixed up this violin for a client. It is unlabeled and doesn't even show signs of ever having been labeled. It is obviously a Stainer body shape, and the antiqued finish and interior construction suggest a workshop violin (probably German, probably late 19th early 20th century), but from there it gets more interesting. The f holes are the most curious part to me and I was unable to find any exact matches. They most closely match those of Italian violins from the early to mid 1700s from makers such as Tecchler (1737), Tononi (1725), Carcassi (1752), Guidanti (1740), and Bairhoff (1757). I also found a Benjamin Banks from the late 1800s with similar style f holes, but none a perfect match. The holes are pretty short, parallel to the grain, fairly wide. The unique part though is the degree of turn in the upper ear of the holes. Another interesting point is that the long arch is not Stainer, but more Strad. The rather large ebony alignment pins are also a bit unusual, they are also present on the top. On a side note- when I received the violin, someone had converted it to have 5 sympathetic strings running under the fingerboard, through the bridge, and over the saddle, attached to hooks in the peg box and very small threaded pins in the end block like small piano pins for tuning. Sort of like a viola d'amore/violin hybrid. I thought some here would enjoy discussing this one. Those f holes kept me up a few nights for sure.
  9. http://www.ebay.com/itm/Antique-Unusual-Profile-Old-44-Stainer-Violin-4-Repair-Good-Tiger-Maple-Back-/111680457407 Ive seen some weird arching with violins branded as Stainer, but this one takes the cake. Also, the nut of the violin, I sure hope that trend wont be catching on.